Weber and Piccolo
Finale to Act II. of Oberon. The fifth and sixth bars of the overture to Oberon contain a prominent descending passage for the two flutes in thirds pianissimo along with the clarinets.
Weber, Overture to Oberon.
![\new Staff \with {
instrumentName = "FLUTES."
midiInstrument = "flute"
} \relative c'' {
\key d \major
\tempo "Adagio"
\autoBeamOff
r2\ppp <cis' e>32[\staccato <g bis>\staccato <g cis>\staccato <f gis>\staccato]
<e a>\staccato[ <cis g'>\staccato <a e'>\staccato <g cis>\staccato] <e a>16 r r8
r2 <a' d>32\staccato[ <d, gis>\staccato <d a'>\staccato <b eis>\staccato]
<a fis'>[\staccato <g cis>\staccato <fis d'>\staccato <fis a>\staccato] fis16 r r8
}
\layout {
indent = 2\cm
}](http://upload.wikimedia.org/score/1/q/1q2cl30tza3j0gx37u7mnq2tamyqnhf/1q2cl30t.png)
I have dwelt at some length on Weber, as his writings show a more complete grasp of the possibilities of the flute than those of any of his predecessors;Weber's
use of the
Flute I might almost add, than most of his successors. Moreover, they are most grateful to the player, are eminently playable, and present no great difficulties of execution. He also uses the piccolo in a very original manner to produce a startling and weird effect, as in the ghost scene in
Weber, Der Freischütz. Caspar's song.
![\new Staff \with {
instrumentName = "2 PICCOLOS."
midiInstrument = "flute"
} \relative c'' {
\transposition c''
\key d \major
\time 2/4
\tempo "Allegro feroce"
\autoBeamOff
r4 <gis' b>\accent\trill
<fis a>8([ \grace {d'16[ e]} <d fis>8)] <gis, b>4\accent\trill
<fis a>8([ \grace {d'16[ e]} <d fis>8)] r4
}
\layout {
indent = 2\cm
}](http://upload.wikimedia.org/score/5/2/527i1vf4h79a4nuppd4b9idyfnazw1i/527i1vf4.png)
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